New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-11-09
FIRST THOMAS SYMPHONY CONCERT.

Though we ought by this time to be familiar with
them the matchless technical precision and thrilling
seniority OF Mr.. Thomass band had almost the force
Of surprise at the first OF tho symphony Concerts
I'm Stenway Hall last night. The change OF place
since last season had much to do, of course. with
the pecuar vividness Of the dominant impression
II music IS to have It's full effect no portion Of t
should be dsslpatcd In space. Cridities are some
times forced upon ones attention by hearing at close
range but for all defects Of this character there IS
compensation sevcnfold and more In the mutual sym
paihy between players and auditors which results
from their being in enough proximity to share
In each Others efforts There IL no concert-room IN
the city whose acoustic properties so good for
orchestral purposes Steinway Hall. and had MI
Thomas last night given concert like any one OF
those ho gave last year tt wonid have sounded twice
as brilliant, but no Is untrfpg In his efforts to better
hts performances, and to this end he has not only
changed tho composition Ut his orchestra somewhat
but has also made changes in his methods. Some OF
these changes referred 10 last Sunday In THE
TRIBUNE, and In tho opinion then expressed last
nights hearing confirmed us The striving for mere
tonal brilllaney be carried too far II the dy-
manic nusnces I'm the playing ~ band so powerful as
Mr. Thomas's are TO have their full effect In Stein
way Hall great must DO exercised In tho treat
mont OF loud passages. Some Of the fortissimo pas
sages last night. Thursday were simply crush
Ing 1t exciting and highly sonorous din;
1t approached dangerously the point where
sound ceases bs music and degenrrates into noise.
In the Metropolitan Opera House the effect would
have been stupendous In StcInway Hall It was deaf
enlng II has been one OF Mr. Thomas's good quail
tiles, heretofore. that he was Just as unwilling To
cultivate hyyersentimentalty as to 60 beyond the
limits Of normal and healthy sorority He should
not cast aside that quality when there Is danger
OF lawlcssness getting f0othold In the concert-rOom
AS to his changes In the pbrasng Of Beethovens SYM
phony In A major while the most If them commend
themselves to studlOus judgment they do not all do
40 and We are constrained stl insist that the In
creased rhythmlcal energy impaired to the scherzo
In particular was gained Tho Of plain nten-
tion Of the composer and both suavty ard grace.
New studies Of rho classics In the Hight Of advanced
learning highly commendable. but Incorrect the
cries work great deal OF mischief
Except IN tho matter Of Interpretation 1t would be
difficult and thanlicss To- attempt to discriminate
between tho performances Of the Two Beethoven and
two Wagner compositions. There was tremendous
energy In the Corolan' Overture and great vivacy
and br:lllancy In tho symphony. The Wagner pieces
we're the prelude and finale from Tristan and Isolde
Hhe finale without tho voice part and the KAISER
uarsch.'
rhe central number in the scheme, and the In
which steadily growing enthusiasm reached a tte-
n.endOus climax the perform by Ka.ael JosefY
of Chopn's concerto In 4 minor In the arrangement
made by Tau-g Hero was a deli htful revelation III
Iatives wOud BE- justiiabic. Talsss genus has
Transformed the familiar concerto INTO piece Win
twice IL, original breadth and ten tines It's briIancy
The orchestral accompaniment Is mas'eI piece ioi ot
the moiern spirit aud as vivid an varied IN color -
irnance gives IL Is Inc plicablc that IL shouh nave
lain unpublished many years after Ilnsls deatn-
ur Try OF expression trilisncy " execution lOve
Of quality sou ness ant yet nrlnc,I Ok toccn
vorl, last night II l. bfI whether he himself
ever equalcd his performance On this OCCASION